XSSSSSm
CORNELL
UNIVERSITY
LIBRARY
MUSIC
..-r «— 2i'"'" University Library
MT 870.C68
Melodia:a comprehensive course in sioht-
3 1924 021 781 434
The original of this book is in
the Cornell University Library.
There are no known copyright restrictions in
the United States on the use of the text.
http://www.archive.org/details/cu31924021781434
MELODIA
A COMPREHENSIVE COURSE IN
SIGHT-SINGING
(SOLFEGGIO)
THE EDUCATIONAL PLAN BY
SAMUEL W. CpLE
DIRECTOR OF MUSIC IN THE PUBLIC SCHOOLS OF
BROOKLINE, MASS., AND INSTRUCTOR IN THE
NEW ENGLAND CONSERVATORY OF MUSIC
THE EXERCISES WRITTEN AND SELECTED BY
LEO R. LEWIS
PROFESSOR OF MUSIC AT TUFTS COLLEGE
OLIVER DITSON COMPANY
THEODORE PRESSER CO., DISTRIBUTORS
BRYN MAWR, PENNSYLVANIA
MADE IN U. S. A.
Copyrlghc ltd), l>04, by Ssmad "V. Col< isd Leo R. Ltwii
Copyright iisigncd to OlWcr Ditson Complnyi 1909
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INTRODUCTORY
The Value of Sight-Singing
For at least two centuries training in sight-sing-
ing has been recognized in Europe as fundamental
to all technical education in music. Americans
have seemed to set little store by such training;
for, today, the great majority of our professional
musicians, not only instrumentalists but also vocal-
ists, need unerring instrumental support in " sing-
ing at sight " a part-song or an anthem which has
modulations to any except closely related keys, or
which abounds in the larger intervals. Obviously,
inability to read at sight does not preclude good
performance, after familiarity has been gained by
instrumental assistance; but probably no one
would deny that the possibilities of artistic
achievement are infinitely greater when one has
acquired the confidence born of genuine ability to
sing at sight — which ability may be defined as the
power to know the units of rhythm and of relative
pitch of any rational musical phrase, and to prove
that knowledge by singing it correctly at first
sight.
Much Material is Necessary
Many works on sight-singing have been com-
piled and written for use in the public schools.
But the authors of Melodia believe that there is
need of more and better graded material for use in
conservatories and by private teachers. The pres-
ent work is an attempt to meet this need. It rep-
resents the results of many years' experience, and
is based on the belief that, whatever be the method
of presenting the elements of the subject, the sur-
est road to growth is through actual performance
of a great number of carefully graded tasks.
Confidence Must be Developed
A second fundamental thought has been that a
high degree of self-confidence must be developed
before one can " stand up and sing " alone at sight
a somewhat difficult musical phrase, without other
assistance than the sounding of the key-note. Ex-
perience has shown that rhythmical problems are
quite as often stumbling-blocks to musical students
as are to^ial problems. Therefore, in Melodia, the
first eighty pages, which are written without skips
primarily to develop a ready confidence, contain
many and varied examples of each of the conven-
tional rhythm-forms ; and the most deliberate pro-
gressiveness is maintained in the introduction of
new difficulties. In a word, it is a feature of
Melodia that early emphasis is laid upon rhythmi-
cal problems.
The Treatment of Large Intervals
In the treatment of the larger intervals there is
also a departure from the conventional procedure.
Instead of taking them in the order of small to
great, the octave is first presented, because experi-
ence shows that it is the only " skip " definitely
recognized as such by most beginners. The sev-
enths, sixths, etc., are then presented both in their
relation to the octave and as composites of the
steps and half-steps with which the student is
already thoroughly familiar.
General Features of Melodia
A glance at the headings of the successive Series
will indicate in detail the comprehensiveness of the
plan. The following general points may be noted :
1, The typographical arrangement is such that a very
large amount of material is brought within comparatively
narrow limits;
2, The normal compass of average voices (an octave
and five notes from low A) is seldom exceeded ;
3, Nearly one-half of the unison exercises are written
in the bass clef, thus forcing sopranos and altos to become
familiar with that clef ;
4, The two-part exercises are all written so that they
may be inverted, the bass being made the tune, and the
tune the bass ; or they may be sung by male voices only or
by female voices only; thus, each two-part page repre-
sents two pages of practice material ;
5, Again, the two-part exercises are adapted to use by
teacher with pupil in private vocal lessons;
6, Since all indications of phrasing are lacking, oppor-
tunity is offered for constructive work of the highest edu-
cational value.
Individual Work Essential
It is expected that, even when the book is
studied in large classes, much work in individual
reading will be required by the Instructor; for,
after all, no one has fully mastered sight-singing
who cannot sing alone, while beating time after
the conventional forms.
As a special — and, perhaps, novel — ^help in de-
veloping the sense of individual independence in
ensemble, there have been included, in Series I,
exercises which may be sung simultaneously.
Cases of this sort are indicated in connection with
each of the respective exercises. Thus I 233 may
be sung with I 243, I 246 with I 263, etc. Some
teachers believe so fully in this method of devel-
oping independence that they cause exercises in
the same key, and with the same number of mea-
sures, to be sung together, without regard to the
tone-content of the exercises. This practice, ar-
tistically unjustifiable, may have, in moderate use,
educational value.
The Goal of Melodia
Melodia undertakes to prepare students to meet
the most difficult tasks in pitch and rhythm set by
masters of choral composition. If suggestions of
phrases from some of the masters have occasion-
ally been incorporated in the original exercises,
the reader may be willing to waive a charge of un-
justifiable appropriation, in view of the specific
object of the whole work.
The Modulatory Studies
Pages 76 to 80 contain Modulatory Exercises,
some of which may well be studied earlier than
their position in the book would indicate. The
relationship between the objective keys and the
tonic is indicated by Roman numerals, — capitals
for major keys and small capitals for minor keys.
Thus, "To II " means that the exercise illus-
trates modulation to the minor key based on its
Super-tonic of the prevailing scale — to D minor,
if the piece is in C major. Such an exercise
may well be studied in connection with any ear-
lier exercise which modulates to any similarly re-
lated key — to F-sharp minor from E major, for
instance. Reference to these exercises is occa-
sionally made in the earlier pages of Series IV ;
but the teacher may best judge whether more
detailed study of key-relationship is desirable.
Matters of Notation.
There has been no attempt to preserve absolute
uniformity as to the details of notation through-
out the book. On the contrary, it has been
deemed wise to present a variety of forms and
usages, in order to accustom the student to the
practices of various authors and editors.
A word is necessary as to the insertion of clefs
and the use of bars, which features, on casual
view, might appear to be unsystematic and need-
lessly unconventional. As a matter of fact, con-
siderations of brevity have prompted several
departures from the established usage. For the
guidance of the singer, however, but a single
direction is necessary : the prevailing key-signa-
ture and time-signature are not cancelled
unless a clef or the regular double-bar [II] is
inserted. The double-thin-bar [||] is therefore
not to be regarded as necessitating a new indica-
tion of key or time. The time-signature may
change while the key-signature remains. The reg-
ular double-bar appears where either a clef or a
A^y-signature is changed. The meaning of the
single-thick-bar [I] or the double-thick-bar [II],
as in the Modulatory Exercises and in connection
with repeat-signs, is, in the respective cases,
obvious.
THE SOURCES OF THE SELECTED EXERCISES
The authorship of the selected exercises and of the excerpts, is indicated by letters following
the respective numbers. An asterisk shows that some modification other than transposition has
been made, but not such as to impair the original character. Below is a key to the indications
of the letters. All exercises not so marked have been written for this book.
Ad T. Anderton [1836- ]
Ab D. F. E. Auber [1782-1871]
Bh J. S. Bach [1685-1750]
Be U van Beethoven [1770-1827]
Bt A. Bertalotti [166S-1730( ?)]
Bh H: Bonicke [1821-1879]
Br J. Brahms [1833-1897]
a G. Carulli [1800-1877]
Cb E. Chabrier [1842-1894]
Ck G. W. Chadwick [1854- 1
Ch L. Cherubini [1760-1842]
Cn P. Cornelius [1824-1874]
Du F. Durante 1:1684-1755]
Fi C. H. Fischer [1800-187S(?)]
Fr C. Franck [1822-1890]
Gn
C.
Hd
G.
Hr
H.
Hs
J.
Hn
J.
Hg
J.
Kb
h
La
H.
Ls
0.
Lm
H.
Lo
L.
Lw
C
Mn
F.
Mi
J.
Ms
W.
F. Gounod [1818-1893] Na
F. Handel [1685-1759] Pa
L. Hasler [1564-1612] Py
A. Hasse [1699-1783] Rd
Haydn [1732-1809] Rs
Higgs [1829-1902] Sb
P. Kirnberger [1721-1783] Sn
F. Langle [1741-1807] Sm
Lasso [1532-1594] St
Lemoine [1786-1854] Ts
Leo [1694-1756] Vd
Lowe [1796-1869] Wg
Mendelssohn [1809-1847] Wb
Minard [1845(?)- ] Wn
. A. Mozart [1756-1791] Wll
J. Nares [1715-1783]
A. Panseron [1796-1859]
C. H. H. Parry [1848- ]
J. J. Rodolphe [1730-1812]
G. Rossini [1792-1868]
J. N. Schelble [1789-1837J
F. Schneider [1786-1853]
R. Schumann [1810-1856]
J. A. Steffani [1726-1800( ?)]
W. Tschirch [1818-1892]
G. Verdi [1813-1901]
R. Wagner " [1813-1883]
S. Webbe [1740-1816]
B. Widmann [1820- ]
F. WuUner [1832-1902]
TABLE OF CONTENTS
INTRODUCTORY V
BOOK I
FIRST SERIES I
One-part diatonic exercises in step-wise melody — G and F clefs — All major keys to B and to D-flat
inclusive — All representations of notes and rests of whole-beat length and multiples thereof —
Elementary presentation of the divided beat,
SECOND SERIES 21
Two-part diatonic exercises in step-wise melody — Keys to B and to D-flat inclusive — Alt representa-
tions of notes as in First Series, with greater variety and length of rests — The divided beat in fuller
presentation.
BOOK II
THIRD SERIES 41
One-part exercises in step-wise melody in all keys — Graded presentation of all chromatic tones, except
flat-2 and flat-5 — Development of the minor — The dotted note involving division of the beat —
Triple and quadruple division of the beat.
FOURTH SERIES 61
Two-part exercises in step-wise melody in all keys — Chromatic tones, modulatory and ornamental —
Development of incidental and extended modulation — Syncopation — Mingling of double and triple
divisions of the beat.
FIFTH SERIES 81
One-part exercises — Systematic treatment of intervals, beginning with the larger — Skips to and from
chromatic tones having obvious key-relationship — The commoner augmented and diminished intervals.
BOOK III
SIXTH SERIES loi
Two-part exercises embodying all intervals treated in Fifth Series — More elaborate development of
rhythmical difficulties, especially of syncopation — Lengthy solfeggi from German, French, and
English sources — Canon and Fugue.
SEVENTH SERIES 131
One-part exercises — Systematic treatment of skips to, from, and between chromatic tones — Intro-
ductory study of passages whose chromatics "deny" the signature — Advanced solfeggi from foreign
sources — Specimen difliculties, without text, from the classics.
EIGHTH SERIES 151
Two-part exercises, involving all the difficulties treated in Seventh Series, and fully reviewing the
rhythmical problems earlier treated — Maximum difficulties of mediated modulation — Special studies
in the development of independence of the parts.
BOOK IV
NINTH SERIES ....... 161
One-part exercises — Typical passages from early and recent composers, with text, of d'.fticulty ranging
from medium to great — Full exposition of chromatics which "deny" the signature — Arbitrary
changes of tonality.
TENTH SERIES 177
Two-part exercises, with text — Representative excerpts from early and recent composers, with a few
new exercises, embodying maximum difficulties of pitch and rhythm, as well as the utmost independence
of parts.
ELEVENTH SERIES 191
Two-part exercises, partly without and, partly with text, in the following Church Modes : ^olian,
Dorian, Jonian, Mixolydian, Phrygian — Canonic imitation, strict and free, in other intervals than that
of the octave.
MELODIA - BOOK I
FIRST SERIES
One -part diatonic exercises in step-wise melody — G and F clefs — All major keys to B and
D-flat inclusive — All representations of notes and rests of whole-beat leng'th and mnltiples
thereof — Elementary presentation of the divided beat
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MELODIA - BOOK II
THIRD SERIES
One-part exercises in step-wise melody in all keys — Graded presentation of all chromatic tones,
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beat — Triple and qtiadruple division of the beat
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81
FIFTH SERIES
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Skips to and from chromatic tones having- obvious key-relationship — The commoner augmen-
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MELODIA-BOOK III
SIXTH SERIES
Two-part exercises embodying- all intervals treated in Series V More elaborate devel-
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SEVENTH SERIES
One -part exercises — Systematic treatment of skips to, from, and between chromatic
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B-57-fi7645-300
161
MELODIA-BOOK IV
NINTH SERIES
One-part exercises — Typical passages from early and recent composers, with text, of difficulty
rang'ing- from medium to great — Full exposition of chromatics ■which"deny"the sig-nature Arbi-
trary changes of tonality
Thy name l_
l^pr pJjJpJj^ l ^^'T p J> } I p ||'/r"l
^-=-
throug-h - out the world .
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Springs up at
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God's com-mand. Af- fright -ed fled Hells spi rits
black in throngb
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Down they sink in the deep 'a byss To end less night.
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Hear our all ap-pal-ling vengeanceTearCre - a - tion's vault a sund-er, TiU its
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wrath a might-ier thunder Hurl an ni -hi-la-tion down. Hurl an ni hi
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la tion down .
men, A
s
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men, A
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A men, A - men, A -men, A -men.
m
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Since Im my - self, Sirs
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' And not an oth er Spare me my lit - tie life
To grow more
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wise, spare me my lit-tle life Togrowmorewise, To grow more wise ,To grow more wise\
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r r-F i V r i f
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Thou bad'stme to thy supper.
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fel
Host of mine , Host would I turn:
And
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hou to I
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wilt thou too, and wilt thou too, in thy turn, Come to my ban-quet?
5-57-6764B-200
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^ 7Gn I K I . |,-^„^
Let me but sit co-zyanddry Un- der the trees -with my daug-b. ter,
hh f
p ^ I p p J>.7Ji l J^ ii c jpp I [^ ^
m
And while raft and boat travel by I drink to the folk on the wa ter!
8Ck
Let Israel oerish never. Let Tudahserods orevail! Ha! ha ha! ha ha! ha ha!
^^
tL . _ ..' ,. ^ XT-- r ^ • ±- •. TT-l 1 t II 1 I 1 1 1 1 l._l
ha! In shackles live forever. Nor cease your plaintive wail. Hal ha ha! ha ha! ha ha! ha ha!
9Fr
l-lilji h J. I>i' J: l -J'Jli' i
W
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When our hearts are op-prest in the midst of our pleasure,
And despair
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without meas ureHasfUld us with dread;
Say, where, Say, where
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g
has gladness fled?
ay, where, Say, where has 'g-ladness fled?
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Take aU the prophets of Baal, and let not one of them escape 3rouJBring' them down to Kshons
r fi pii|k^r'ip i J || j/ifyi ^^
brook, and there let them be slain
Not a trespass g-o un-smit-ten;Nothing'
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longer shall be hidden. Not a trespass,Not a tres - pass go un - sniitten,go un -
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smitten. Not a tres -pass, not a tres - pass go un smit
, ,12Gn . I L . ■ I ■ I
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ten.
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This rare cup so ten-der-ly cherish'd,Thisrare cup so ten-der-ly cherish'd, Aye at his
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side the king did keep .
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And ev-'ry time it touch'd his lip,
13 Gn
j''' '^ ^ " f "i I M I' I I ' I I ir'i'i I II I I
TT„ i ilji ~t.i. -ft 1 ^-rrz • . '. >„ . . .-
He weptand thought of her long per ish'd.
Gainst the pow'rs of
5-57-67645-200
163
^'•1'^ j^i^^Jy F i fiiJ-'^piJ''p I' r i jj'ii J'r- g i r rp p
E-vil our arms as - sailing', Gainst the powrs of E-vilourarms as sail-Lng-, Stirong-est
hK LJii'
earthly might must be un-a-vail-ing- Strongest earthly might must be un-a-vail ing!
earthly might must be un-a-vail -ing- Strongest earthly might must be un-a-vail
14 Hn
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p — •
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Andthe An-gels strucktheir im-mor-tal harps, and the wonders, the wonders
15 Hn
gg
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r ^ i if^'^t'p r^i7 | yp r p ji i^^h^p^^p rf^ ^^
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of the fifth day sung°.
And God saidiLetthe earth bring forth the living- creature after his
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kiii
kind, cattle, and creeping thing, and beast of the earth after Ins kind.
16 Hn
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And God said, Let there be lights in the fir. ma ment of heav'n To di
^5
Vide the day from the night , And to give light up -on the earth; And let them
mdfor seasons and for days and for veiirs. He made the stars also.
be for signs and for seasons and for days and for yeiirs. He made the stars also.
17 Hn _ U.ff m m ^ C . ^,
.>"1°. rf. fifii ^FTPffrr t<t^ \ i uU r
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And God said,Let the wa-ters under the heavens be gath-er ed to-geth-er un
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to oneplace And let the dryland appear and it was so. AndGodoalledthe dry land
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earth, andthe gathering of waters called He seas,AndGod saw that it was good.
18 Ki
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And God madethe firma - ment and di-vi-ded the wa - ters which were un-derthe firma -
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ment, from the -waters -wliich -were abovetiiefirmament,Andit-wasso.
In make some de
•^ layilvetravellcl far so I in - tenduntil to-morrow here to stay.until to -morrow here to stay!
stay!
5-57-67645-800
164
20 Rs
g-e -am.
He trusted in
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God thatHe would de liver Him; let Him de liver Him, if He de light in Him,
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ieht in Him , if He delie-l
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if He delight in Him let Him, deliver Him if He delight
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delight in
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ithHis stripes we are heal
Him, if He delight in Him.
AndwithHis stripes we are heal
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ed are heal
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are heal
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ed are head
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-men, A
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men,insempi-ter-na sae-cu la, a
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men, a men, a men, a men, a
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men, a
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When thou shajt come in the midst of fire to judge the world^WhenThou shalt come
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in the midst of fire to judge the world, in the midst of fire to judge, in the midst of
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fire to judge,yea,to judgethe world, O Lord God, O Lord God,de-liv-er me, O
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God, deliver me, O God, deliver me, de liv- er me from death, death e
.25 Fr
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y •
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ter nal in Thy day of Judg- ment.
I gath-er in each soul im-
M-V,IJ^ | p-Jp.^ |P
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f p • r^
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mor-tal, Death's dark angfel. I. Widely opens Heavn's fJaming- portal . Seethe throne on
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m
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high! And which of you, frail sons ter restrial, But which of you Can view undis-
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mayd God enthron'd in light ce les - tial,
26 Fr
AH lEs might dis playd?
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Only the meek and childlike soul, Pure in heart and humble in fepirit, pure in
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heart and humble in spirit, May en- ter this bright ho - ly place.
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Butpress'd by ardour now he runs.But press 'd by ardour now he runs
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Nor
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heedsthecall,andchidingvoice,Norheedsthecanandchiding voice. Then scenting, then
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scent-ii^ the game. He sud-den stops.
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Thy rebuke hath broken his heart,
He is full of heaviness. He is fuU of heaviness. Thy rebuke hath
jHJ^^jir ^^\^ ^ ^ )\j)^p i
broken his heart .
He look-ed for some to have pity on Him, but therewas no
V i i r ^ r r ff p I ff / / r I f ' II J J' vii>liiJ J' j'^iddq
man: niether found He any
to comfort Him. He looked for some to have
^ p"i'rM|. p<|, pi, J I iJ'J'ii Jj-j:n\j,j II
pity on Him, but therewas no man, niether found He any to com-fortffim.
5-57-67645-aOO
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29 Gn
'>'i\i! ^vy F 1^ F^r '^ i r ptp F i r p'rJr^ i r vy t>
Lo! his Empire is un - dy-iiig,Pope amd Po-et join the ring-, Laurelld
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f y M r V ^r F I r f.»ff^ \ f^F -, v ^
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chiefs his tri - umph sing, Dancing- round his pe des tal .
30Hn
'.v/w»r r F I pup r'ff if / h F F p r « F*g
No-«r swarms ihe vil-lag-e o'er the mead,
The rus-tic youth, the rud-dy
-> P /^F Fn F F M M ^C f F" p I r-'>F"F F ^ ^
W
maid: The breathing-harvestspreadsaroundJiVhosefiagrancescentsthe air;RDmdaletodale making- the
■> »f^:tf"Ff l F■F*^^F rhF»F»p*F F F"*!^ ! »f ^
breeze, Resoundsthevoice of happy labor. Of jo - cund mirth and so - cial g-lee.
31 Vd.
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le i - son, chri ste e
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32 Fr
ste e le i son.
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e -le-i son, e -le -i
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f' ft I gQ
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:!
All the -wealth of the earth Is our de - sire, is our de - sire, is our de sire.
33 Hn
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And onward as he bravely toils, In deep-er er ror plung^es still. In
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deeper er-ror plunges still. In deep-er er-ror plunges still.
De-
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press'd his courage sinks,
34.Fr
And an guish fills his heart.
^
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The earth is dark, Heavns light has faded.
^
s
Shedding no bright
35Ki
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ray; Ev-'ry hope, ev-'ry hope with sor- row shaded. Direct
ii'^""ii'^"^rfr^«ii|i |i I
Direct us in Thy
ways, God! God! Siqiporttis in the strife, support us in the strife, O God!
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167
t'VV-ij^iuiij.Mjiiiyiijnj.JMJ ji^iiiJ J^-^ir
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And as of yore, And as of yore See us kneeling-, trembling, a dor-ing-,
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t=
loring; B'
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trembling-, a doring; Bow down once more.
^
And I, the
38 Fr
0,
t=!t
^^
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^
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frail est of the frail. Have most need of your for - giveness! The gods our offHngs
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dht
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spuming. Scorn each bit-ter cry; To souls all dctrk"mthdoubtsdis-maying. To
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souls aU dark with doubts dis maying, O blessed Truth, light re -veal, bless
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BE
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ed Truth! The skipper he blew a whiff frQmhispipe,the skipper he blew a
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whiff from his pipe, the skipper he blew a whiff fromhis pipe And a scorn-ful laugh laughed
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he. And a scornful laugh laughed he. And a scorn-ful laugh laughed he
40 Mn
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Is not his word like a fire? And like a ham -mer that break -eth the
'>--^^^ /J I r p ;? r <tM I -^ ^'^ I r fp r Offpu^ ^ ^'^
rock? A helm- mer that breaketh the rock, that break eth the rock in-to pieceS?Likea
r>v i ^rfrrj..n | , j. J^p»r i r^rr n^^
'J m '~p
fire, like a fire, and like a ham - mer that break - eth, that break -eth the
'■'^i' "p t r i Tr^rrr'Tj ^
i
r I r'^r ^r r i
cjf'^^itj j^'r
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m^
rock. His word is like a fire and like a ham - mer, A ham mer that
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breaketh the rock
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For God IS angry, an-gry with the wick-ed ev-ry
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day; For God is angry with the wicked ev-'ry day,- And if the wicked turn not, The
B-57-67645-200
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^^
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Lord will whet His sword, wiU whet His sword;andHe hath bent his bow, and
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made it ready, and made it read-y, read-y, Is notHis word like a
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fire? and like a hammerthat breaketh the rock.andlikea hammer that breaketh the
u i t I f r FT r f J" ,* LjUl ^^ # r I r tt.
rock? Is not His word like a fire.andlike a ham mer, a ham - mer that
^
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break- eth the rock?That break- eth the rock, that break- eth the rock -.and like a
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fire like a hammerthat break-eth the rock; is not His word like a
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hajnmerUiat break eth the rock.is notHis wordlikea hammerthat breaketh
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_the rock in-to pie-ces? Is notHis word like a ham-mer that
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te
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breaketh the rock?
9- jT- 1 /J Jr I 'r^r r
Grace on whom thou wilt 'be - stowing- Save me Lord with mercy
zasi
F^
flowing, with mercy flowing'.Save me, Lord,save me, Lord, save
42 Gn
_me,
L'ord!
F F F 't • ,J' I ,J' H ' N^hpi. fV-.M jJ^i'J'j/ |
^^T^^
What wealth is here, what wealth out- bidding- g-old. Of peace and love,and innocence untold!
-^ V J^ J' "ff '^l
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m
li^I'lp tp p J' Ji I J, i'J J^.,| |
of peaceandlove,A)diatwealthout - bidding- g-old!
What -w'eadth is here
43 Ck
43 Ck . I 11 -^
Tis a
Jewish woman taken in the vale. And she is passing- fair!
i-,ppr,joi,y.piTF^^iFF'T> ^ 'i ^^'i" 'r I 'r^
She is fair? Tis well! Let her approacWFair Jewish women may my mer cy gain!
5-57-67645-200
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Day of an ger, Day of an - ger,
-V- ■ - ■ ^-
Day of trouble,
'ime shall
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per ish, per-ish like a bubble.Day of an-ger,Dayof trouble, Time shall
l*-^ -^ k^ Lr' I ^ ^ . ^ - 5. r:^ S. :::^ 45Vd
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gi-ffTrif y f r \ I?
tnd the Sibyl . When thou shalt
perish like a bubble, So spake David and
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come in the midst of fire to judge the whole world, in the midst of
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whole world. A las' A
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fire to judge the whole
i'h^' Mr ^ r ' ^' ^ ^ ^ ' 'T' r I ^'^-^ ^ cjr ' ''^ r ^ ^
las! Thou might'sthave saved our lives! A lasl our children, our
children and our wives! But now no hope!.
AH hope is gone! But
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»j ^'^' p r M r i ^ r ^ I t
now no hopel allhopeis gone,The blciz ing- sky no pitying raindrop sheds!
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How swiftly the flames of a wrath, all-compel- lingjlise forth from a heart where God's
love hath no dwelling, And man's dearest treas
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but a de-lu- sion! Take heed, sin-ful world. Is but a de-lu-sion,
Is
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but a de-lu-sion.
Is but a de-lu - sion! Take heed, sin - ful world ! Take
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heed,
sinful world.take heed.
sinful world!
5-B7- 67645-200
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'Tis he, 'tis he, 'tis he who all a
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lone, 'tis he who all a
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lone, a lone, .
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alone hath trod-denthe winepress,all alone hath troddenthe winepress, a - lone,yea, all a
m
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g^s
lone.
. us, erringf mor - tals.
by cost-ly sac-ri fice, to save us, err-ing-
mortals, by cost-ly sac- ri fice. Ye Prin
ces, ye Prin
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P i F F r ., [T I ^ ^F FIf p ^^^g
ces.now be-stir ye crown him Lord of all! Ye princes now bestir ye,crownhim
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Lord of all.
crown
him Lord of all! Ye Princes, now be ■
'-^FF.M prff | f |- r ri|| I ffiii^ I
stir ye, and crown him Lord of all, and crown himLord of all! Ye Prin
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m m
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fe^^
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ces, now
9
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be - stir ve . crown
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him Lord, O crown
him
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Lord! Ye Prin
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ces, now be-
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stir ye, crown him Lord,
all!
5-B7-6764B-200
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In vis ion I be. hold, In vis ion I
be
i'rJMMF £rf^ ^ i ,j' j.j' j .jj, i p;^ ^
E
hold how he, at Godb right hand.with lightnings,smltes ihe foe,howhe,at God's right hand,-mtli%htiiings smites the
^hiJjjj i iiJ^r^^J^i-i-'J'^
^
foe!
In
vis
s ■■
• — 2
ion I
^=4
be
P=1
hold
in vis
i k
^
ion I be
1 f ^
'k=r^
1
M
) .
H^
m ^^_^
'" tf*^
0^
^
4 —
=«
:*-
-^
-«
^IS^-f
=i
hold,how he, at God's right hand,
with lightnings smites the
I i^'iji^^ I :[^^F J I r- ^^^
£
foe.
to free his faith ful peo
to free his faithful peo - pie from wast
ing care and woe. I
I J I J J I i j_J' j^ j || jj.j i ^t^»cri r ^
an/1 ht^rp \rv ihp wav. and lift mv veam ine: eyes. O
stand here by the way,
mg eyes
Lord in heaVn a bove re-ceive my
50 Be
j j r ^ m I I / i ^''./r g-jj i ^
fice!
!■'' 'I J' J' J' V < I '' ^c F F ^ -^ ^
In - car-nate fiend , what willst thou now?
What is thy plan,
51Ck
what is thy plan of dire de struction?
I I I l| I
^
^
rr^^r ' r-
P LT F
^
Not as the Con-ciuerorcomes,They thetrueheartedcame,Not with the roU of the
*
^
r r p p tp
»"iJ j J'
$
^
iH^
1f^
^
stirring:drumsAndthetrumpetthatsing-sof fame-,Not asthe fly-ingcome in si-lence and in
fear,
4
^
£
fe
(S>Hs^
^q^p ;^ - H
They shook the gloom withtheir hymns of loft
y cheer.
5-57-67645-aOO
"! 52Rs
m
i
^
• ' ■
^
^-^
^
P' I
*
^
D urn pen de-bat Fi - li us, dum pen de-bat, dum pe de -bat,dumpen-
53Ck
^
pT'l p'/-/7 ||P'g i |(; ^
E
ttf i> f ^ [ "T' iT f f
s
de-bat Fi-li us.
■r ^ P
■'»krp"i' I 1 1 f r ' ^gn «^-iJ^ ^
Tbeyhave left unstain'dwhattheretlieyfoundFree
m. «.
Jitrtif n JjjJ J3Jg h,j / r
dom to worship God, to wor-ship God, wor
ship God, to wor- ship, to
54 Py
"y-h j ^ r"??^ r N r> / ^r I J ^^ r I aJ ^r ^ I r II ^^'^^-^ ^' ^
^
^
^
ship God, to wor
ship God.
Mu-sic the fierc-
f | ff rpr iTFri^Ti^^P'pt^
^
»
estgrief cancharm, And fate's se-ver est rag-e disarm. Music can sof tenpainto ease.
t^f*frff
i»-= — (►
4
c-T | fff r^p
s^
5=i
. And make despair jind mad-ness please.
■■)»r.,.fT-BMr'r^ n^'r
Ourjoys be low it can im-
-4
^
■^
prove, And an - te date our bliss a bove, and
55Bh*
te-date our bliss a bove.
f.rrfl i ;];-H. p i ,. M ri i ^j .^^ j
^
At a g-es -ttire of his fin-g-er, man's de-vi-ces halt and fail. At
Hr^^
r~T
^^
^m
a gesture of his fin - ger, mans
de-vi-ces halt and fail Pow'r and
pride
w
^
can-not a vail.
^pride cannot a vail. Speaks th'Al
^
«=#
might-y but a word, speaks th Almight y but a word. All His
*=^
B
~BS1
rff
r — M
^fF-^
r hf«
1 r^M nr^
Q
''1 1 Pi — :: c C
^LJ
y
3
tWiJ
r
t=tH
1 £/r ^^^<t^
nJ
foes in rage, must vanish. Ye that have His message heard,Forthwith, forth-
with, forthwith ev.'ry world ly long-ing ban
^ ip
Speaks th' Al-
might* y but a word, speaks thAhnighty but a word,butawnrdAll his
5-57-67645-200
1?3
foes, in rag-e, must van - ish. Ye who have His messag-e heard, Ye
fr^i nrih^7 rm,^ l ^^f ^n Mr i|i|| 5f ^
■vslio have His messag-e heard, Ev 'ry worldly longing- ban -ish.
De
ten
tes de se
de at ex-al-ta
f^r^ \ ^f::::\^:ii: m \ U' ^^i
vit hu mi
HM r ^^<tn \ t^'-}p'<ih ■^■^^^Jj^
le
s.
t
De-
po
B
p^
s
su-it,
>-«;
de
2J_
po
Pfl
p^^^ >. hi
r=J
M
^^
v
s
^
^
^
"«
tfj
■*'■ *
-^
t*J
Cs^
9
5
a "
te^
su-it po - ten
tes de se
de et
i]n *i \^ ^ ^ ^ \ ^ ! iit^ N- -^ j i c /ti^j- i
ex - al ta
vit,et-px al
^
S
P
^^
^^fJE£i£!r
^=PT^
* * **
vit hu-mi - les
^
tavit humi
57Wg
les ,
^
et ex- al - ta
s
^
f 'f i T/r
^^
p^- f i r
Thro'wavesthat rage,andwindsthat blus ter, O -ver the wat-'ry waste I rove;What
'^^^'' J' p i f
3
f i r TF
f^^^
^rir/ri nr
respite? That I cannot tell thee, Scarce do I counthow seasons move. I can-not name,
V^^ p , T .. . I \ I n . « ■ P • ! »
i).,|, r \\ U I fezzxji
['••J I ^J ^vFIT ^
ririT niT> j ^
f>- b ^
name.Shouldst thou de-mand it. The man - y seaslve wander'd o'er- The shore a -
lone my heart doth long- for, Ne'ershalll reach, my na-tive shore! The shore a
iriffif Y i V rf | f ^,f | f .fir.vB
lone my heart doth long for. Ne'er shall I reach, my na tive shore'.
B-57-B7646-200
174
58W^
"-"'k"«<:J Tf !('
^
! ;»• J| J'
J i'J'rr i
Out from the depth of darkness grazing upward.Sorehavel long^'d a love likehersto
')'% J ■ I / J f iS
«-= — sf»-=F
:i^
si
I mierht sti
^
gain ; A beating heart was leftme.for my torment,That I might still
^te
^h^ r r*p i r//7j^ i J i j I ^J/y i »p"p p- ft ^
wake to all my pain! This quenchless flame I feel within me
burn - ing,
o.^.' i r rn^'i^'^Hr r^ i r'rMpirT i r'rit-Fff
Can I, un happy one, love dare to call it? Ah no'.It is but longing for re -lease,
H"«^^'^i ^'r i ^rr'F i ^' i' f rri*^"^
^
^
That I thro' such an angel might have peace, thati thro' such an angelmighthavepeace!
^
^
4
J ■ I f tff ^ I <l f" Tf
^
^^
s
A store of rarest treasures shalt thou see.
pearls rich and cost
4
ly-
y M F»r pi iif "F
^
^
s
stones beyond com pare. Be hold. and so con vince thyself how
■^ >km- A ^-Se ^—^ , m ^ '. (2_
4
ir=^
^
^ ' I P t| ^. I 'l^
^^
¥
^
great is their val-ue. AUthesefora friend-ly roof I give thee.
eO'Wg, . V^-\
Thee I be
^m
te
^
3:3
?
P
Thee I be- seech.Kindansrel sent from heav- en, Thou. who for me didst
win un-look'd for grace. Was there a fruitless hope to mock me giv-en. When thou didst
showme howtofind re -lease? Thee I be seech,Kind an-gelsentfromheaven,
Thou who for me didst win un-look'd for grace;
■xKn^""^ \ ^ ^|i| I V 1 1 iM-|ii Fi'^r II
Was there a fruit -less
hope to mock me giv-en. When thou didst show me how to find re - lease?
61We
fey. J|J.i'J J|i|J.ir('r«r^ l ,>^
If vain desires and earthly longing Have turridary heart from thee a way,'
5-B7-67645-«00
175
^
^
=^
-l>^:p>W
^=pc
1
^
*
^^
The sin-ful hopes within me thronging-. Be -fore thy blessed feet I lay; 111
fc
W' J tJ ' I f r
<MJiJ'T i r rif J i JJ- 1 '
*
a
wrestle with the love I cherish'd, Until in death its flame hath perished.
62 Wg
i I - -l l J J J- J' l "f I ^ F
^
^m
"^^
Nay, thou art rav - ing'.
^
Tern per wrath with meas-ure! And I wiU
63 Wg
•« 'f fi'i- F-'ir . j iJ-j' irj/i^ i j
teach thee vengeance, God -like pleasure.
For dread re venge
m I w
^
^
^
^
^
j^^r rr
*
here I ira - plore ye, O Pow'rsthat rule our earthly lot.
Ye who now
dt
tw r r
^
^
^
^ ' #«J- »
dream of joys be fore ye. Know that our vengeance slumbers not! Ye who now
^ [ f \ \" ^f \ ^P J I I.J
^
^
f
^
dream of joys be fore ye. Know that our vengeance slum bers not!
64Wg
^
Piir/p p-^ | i|p>/p | 'T pi,J.^jM^J-J ^-/Jl J. itJ' I '^^tt'^ ^ I
Giveheed,0 King! In fight I may not lead them! The Grails sworn champion.
h\ ^Hi thiJ'-J' JtJ'uJ'-iiJ'J'J'Jp f I / >r p p
» — fr
t=i
if to mortals known,Must bide its laws,and in obedience heed them;
^ a65 Bh*.
Or ev-'rypow'r of
[;J Jl J -i i f)**''-' J1^ I p ^F I? F ffla'
^
manhood he'd dis - own'.
\Ji \\ I nii|if )^,pv l yJ'jJ'^ishi>^;iJ.,ffl
Lau da
mus te, be - ne
di - ci-mus te, ado- ra- mus te, glo^i-fi-ca-mus te, glo-ri - fi - ca
^ pi^^j'i'jvJjJif r/Q '^ j' jiiJ'. p
mus te, glo - ri f icamus te, a do ra mus te, glo - ri f i
^J^ pl»
^
Jfci
muste.glo - ri -fi - ca muste, glo ri - fi ca
n
' I 4''
X
^^^
^
1-
mus te, lau - da
'^ m-
B-67-6764B-200
176
*!=,.
mus te, lau da mus te
f
lau
da mus te, lau da - muste ben-e - di-ci-mos te, ado-ra-muste,g-lo
muste ben-e - di-ci-mos te, ado-ra-muste,g-lo-
'tfu-u^'nniinii|[ ij:3j. %j j j ix^-u- m
ri
fi-ca-mus te.lau
"^^^
^m
damus te, benedicimus te, a
66Wg
do-ra mus.g-lo -
r i riiJ^i'^Jr J
j=^
E
E2
ri - fi - ca -mus te.
Truthful runes to make treaties ri- gid set Wotan
^==^
^
^
i
^ Vm
^
^
^
^
^=7
* #
on the shaft of Ms spear: this servedhim to sway the ■world.
One bold and
iVf^FrTrr'TiTr l T^ | /,M,J | Nr.fY fplJ.JJ J'il
strong^ destroyed in battle that spear.
The binding^witness of bonds was shiver 'd to
*
S
^
±
>vj,i^^i-F r
^ — ^
=f^=ff
^
^i
1
i^
shreds. Then straight Wotan warriors summoned, the worlds ashtrees with - er- ing-
^^
%
W^=^
^
^
^E^^^
?
^
P^
:> V ^
E
1^
arms with its stem to splin - ter and sunder. The ash des troyed. For-
rh J ; ' .M I J'J'I'if /J-
^\' Jy I' Jl
s*
r F p i T^'M
ev - er the spring;- must g-o dry.
Now round the keenedg-ed stone I
m
m
^
\^}frl- tJ'
^
^fe=
*
^
^^
^
^
'O ^ '
tb*
knot the string
67 Wg
Sing; O sister! thou weave it
now,Weenst thou why this was?
O fpV l 'TiJ ^ - Mr I . l|i I" JhJi^
^
t^
!*
Westward sui^.esslip. eastward speeds the ship. Thewind sowildblows homeward now; my
1 k ^
^
?:
i^
^- j'UjJ^r i n J ^^^-J
^
*
?
Irish child, where wait- est thou? Say must our sails be weig^ht ed?
i f 'V I ^iMi I h i ' I' l l r r-i^' '
^
^
^
Filled bythysighs un bat-ed? Waft us, wind sdroi^and wild!
Woe, ah
jj^'i''i'iiiiiiili i j ^-Frir v^ \\<^'\ ^ F ^ i -i ^ 1
woe formv child!
O Irish maid!
my winsome, mar- vellous maid!
5-57-B7645-200
177
TENTH SERIES
T-flTo part exercises, with text — Representative excerpts from early and recent composers,
with a few new exercises, embodying maximum difficulties of pitch and rhythm, as well as the
utmost independence of parts
* IHd
p I ^^^' F F M c rrrrrr r^g^ ^
^
■ m
For sportive play,
for sportive play,
P^F ^^ I 1 F ^ fi F^PfF f P f
'-M:v F ff F [fTTiTr r i ^■^'^'^- ^ m"! F '>' ^' '>: ^-^
For sportive play,
for sportive play,
. for sportive play.
J3ft51tij1t
} ^ *
f' J^ ^' J' i: .h
for sportive play we now pre-
^»f fm^mPm P m -p-
'>\ c^rm-rr
m mmP p PrnW -
■0 #■
W=^
t ^m W a rww
^^m
■' P ff C ' •
F rP p F
for sportive play we now^ pre -
2Hd
M / - H^1^( B
pare.
'>-i f ^ ■ iii'iva' i p M F r^ [4r I r^ Lrrr.^rF.rg
pare.
Thou heedestbut thy fan
^
i^^riF
A''i. f -^ F F r f F I r^ Lrr^ j r^i ^ J Uf ^^
Thouheedestbut thy fan
^f^r^r^ '■ ^' M ^ I' ^ ^, r I ^ ^?F^
cy, heedest but thy fan
#,Fi *
^^
cy but thy fan
y'4.DjJJJ^Crr]'[^|J'^J J ^ I I ''"V^ ^'££crt£&f j
cy, but thy fan - cy.
men, a
FlT^^Erfl'C^^j'l^'F r J ^ 1 ^
^
cy, but thy fan - cy.
men,
Eti
^ji'ssgrger/^
fcce
♦irf
^ — »
^==*
men,
men, a
men, a
a men, a >——-> F"^ men, a
men, a
5-57-67645-200
178
4 Hd
i i^ci J">'iJ^
> ui^im I Jinmrojjj^
men, a men,
For we turn
->'* p P r r r ^ i im^- -^ — ■m
3E:
men, a men .
For we turn
> J' J' ff ff
r ^ - I I
ed ev-'ry one to
his own way.
ed, for we turn
5Hd
^'A^: ^ ^ J' ^ F F M P ^' ^ ^ [[ ^[£^1 [TTf ^nCTE:^
But thou com- fortest my heart in its op- pres
''■'i'hc-
r F M c ; [rgrCfi^^c rEca"^
5=
a
E
But thou comfortestmyheartin its op - pres
^
efl'^^J^ I ^^^m
^5
^
sion, its op - pres
^
^^^^S
raer i F f p f -^^
^
sion, its op - pres
6Bh
sion
'■"W| . 1 - I K^J^ ^^
r V f I
p
t
i=t=^=i
sion.
Praise and hon-or and glo - ry and pow'r
be
Jjj].jjJ^J7jJJjjJ|JjjJ^ ) j J *? > 1 ^ p *y p F ^ ^^
men. Praise and hon-or and glo-ry and
-to God for- ev- erand for ev ermore.A
^^
E
^
powr
be ufl - to God for - ev er and for ev
F i r < • I
er mcfre!
» d ' ' 4
- rn^^^^ \iTmmn
^m
-men.
5-57-67645-200
te
7Hd
J79
P'ii^r.^ p [; ff'
j^ > I r -i' i >
s
JiJJ' l J J ^ J J J^cj
^
Age un-to ag"e telleth forth all the wonders of ihy glo
^3
>>pr >^l^ J)J'J'; , ;,J' I J JJJJTJJ"]
Ag-eun-to age telleth forth all the wonders of thy glo
'-"i,"i> JT] J i p p I ^ ^ ^JjJ^J^ I fi J' p (! ^/^ J^ l
ry, and re joic
eth in thy might .
i
fe
S
/ J' JM^CTjfflJjJJiP'
d »K 4
^^-d
ry; and re joic
-eth in thy.
^
F FPr ^'V I f i'^'^'J'J'J' 1 ^7^ i^U
^
Age un-to age tell- eth forth all the wonders of thy glo
j>'i,N Jj'jji:i
*^
^
might, and re- joic
eth in thy might, -in thy might,
ry,and re -joic
r I p F !'
re-joic eth, re -joic
eth in thy might,
eth in
thy might, and re
and re-joic eth,and re-joic eth in thj
eth in thy mght .
eth in thy might .
^^
^^
There is neither speech nor language, there is nei-ther speech nor Ian
ther nei
5-57-67645-200
180
cuaffe.Siere is nei - iher speech nor Ian
guage,Sere is nei - iher speech nor Ian
^
P ^ Lf l tJ
^ I > > > i'^^
p. • P
ther speechnor Ian gTiag-e, there is nei -ther speech nor
P . P p l y
jjJOT ^j^iJi^F^Ei^r^i^^ ^
giiage,their voice
'^1'' ff J i' J' J) & \ e J
/F c/CJ^
P
#
language.there is nei - ther speechnor Ian
9Hd
g-uage their voice can
ji.''f Q'J'. p i p / Jip''tij/ / J I JTj]
" 4 * 4 d' ^
cannot be heard.
The dove
not cannot be heard. Pin
mg-,
as he flut
ters, his plaint soft ly_
9^
^^
long--
ing:,
his
ds
fe
^
'H^^^ir' p ^
* *
*#w *
ut ters; he's cal
ling-, hes
plaint g-en tly ut ters ; he's cal ling; his lovlj one , The
£
V » =p
^^
E
cal ling- his lovd one. The dove. as he flut ters his
dove.
^ plaint
1^ i,"i r ■ r -p hp
J . J' l i
^
plaint soft- ly ut ters. hes cal
ling-, he's
.';-57-67B45-200
181
ffi
t772^:jjiJ^ \ M^^
~9 9 _
soft-ly ut ters he's cal ling-
•>i,i'i. JJ73
i^-m-^
f-j-r
^
fi rfi r
0-m-0-
^^
a
S
^
cal ■
ling his, lov'd one, he's cal ling
10 Hd
IS
^^5
r i L£rrir i mig
^
his lovd one.
Love now u nit
^Li'kj^i h' M i ^^K r r I uj^ i ^^
P f P m P
his lovd one. Love now u nit
I- JJJJJl|J | [^f|'i-|'p^ | p J I" I J
r I f f
eth a hap
#=F
»i.rrrrrr
« — »
f r f pfm - f f f
w
5i
eth, Love flow u nit
i^
^
^ \ * d A 4 ^^ 1=?
^' ^ I '"' - '
py pair
hap
py pair. Love now u nit
^m
^r I r i fr irm rrr i r^r
fe
^^
eth a hap
py pair, Lovenowu nit
-eth, Love
eth, Love now u nit
P
eth, u nit- eth. Love now u
^HT rrcr
r rjcriciifir
now u nit- eth, Love now u nit
eth, u nit eth.
-J^^J I J J I JJ
d i ^ d J S * J t s
^
i»*»-#
Love now u nit
^g f
^^^^
eth Love
now .
^
W-w
Pr^rJ i .JJj J^
'^ w I w- ^ - — ^-- I ^
eth a hap
py pair.
^m^
nit
^
i
eth a hap
^^ py Ti
itJ \r I I
py ^air.
B-57-67645-200
182
UMz
Chri-ste e le
'-'-'*" r- F r r I ,j. 'J J. J' I J- Jin:
WW
Ky ri e e le i - son, e le
son.e - le - i- son,Christee
^h ;;]]OJ7Tj I ^jjj ^\^j_iSj}j^^^,j \ _^^
1 -son,
e - le - i - son.
i - son,e le
1 - son.
M
12 Be*
^
^
■^-»
311
In
g-lo
ny. i ^JJ^ i ^^
^^
^^
?
In g-lo
ri-a Dei pa tris, a men, a
13 Bh
'/«.i^Ji^Jirrf i >^r^ i l**'*"-
ri-a Dei, a
^^ »ii"<„ r r /
^ rUrJ / i>-"«A i <:c-FcrQ^j
men a
men
Ky -ri-e e - le
i son,Ky ri-e e - le
1 - son, e
P^^^'^Ji^ '' I'liU'i' ^'"^1 J I .I'll II
- i son,Ky - ri ^ e e le - i son, "b - le i son.
1 - son,e - le
■1 son.
5-57-67645-300
±*
14 Bh*
183
mi
S
ip- f^rp
j t » . ^ f I f FtfHg
i
Ky- ri e elei
'> i t,i'(i!f'riipr i iirrrrrrr i rrf rTr*rr^''^
- son,ele i
a!==zz
Ky.ri-e e - lei son,e le-i-^son, e
le i son, Ky
^
rni
>f >l » -I
^
m
r=p
19 !»■
F^^
^
3SI
son, e
■le i - son, e
ott^ ^ r r^*^rri" i ^ r r
le i son
#- m 'P' P — _
^
F=?
^
*A
e e- le
15 Bh
i - son, 6 le
1 son
WU /
Cumsancto Spi ri-tu in gflo
L^^-
s
■^ ^P'ji;j:37^ J j^ I rTjjrJ ^
Cumsancto spi ri - tu in g-lo
\h\ r^^PP"'^r^ l ^^^^^ l Jffl'57^-TO l Ji?^^^ ^
ria Dei Patris,A-men, a
i&
i
Mgg=*
i^J i i n^ i J
J]3^i^ J II
men
ria Dei Patris A- men a-
.' lu' i i, , yjj 1 1 1'l ca^^ fc f4£Cj^to£gLf^
I
men
7 "yjir 'i| ^^' \J'^r'a£rr~Uj'V^'^ir
Chri-ste e - le
- i son,ele
Chri - ste e - le
i son. elei
' r '"^F &D 'J'J'f'^ ' i pjjJ'^
^
i-son, Chri ste, Christe,e-le
i-son,ele
E
P
I
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son.Chri - ste.Christe e - le
i-8on,ele -
^r i | DB"'
6-67-67645-200
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j'j'F^c/ i r ■'T^rcjiF^'iF*
P} \ i t
m
i-soii,e-le- i son.
e-le- i - sonChristee-le - i - son.
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i-son,p-le i son, e-le i son,Christe ele i son^hriste ele
|- ^M'F i c rrFW i 'S-gj'Fc;
M
*<^
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i -son,e le-i-son,ele i - son, e-le i-son^hri-
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f mf » \
fci = ?
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i - son, e le-i-son, e-le - i - son, e-le
i - sonjbhriste ele - i-sonjGhristee-le
|Fir'r'S^J l J'>^^^^^V l FFr F Cf FF lJ^ pOpM
te ele
i- sonjChriste ele
i - sonjChriste ele - i-son,e -
p f f »i f * v=i;i^=0-
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^
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le i son, e le
i-son, Chri ste, Chri-ste,e- le
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r F F F
Tp=^
^2
i-son,Christe e le
1 son, e
^\' ^^ ^ i ^^r-rnpr^
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1 SOD, e -
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feS
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p
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1
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i-son. e le
^
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i jj^ i nn J ^^
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17 Bh
- i- son,Christe e-le i son.
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J^Ji | JJ'^r%FU^ p
J *! J ' 11^
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Do mi-ne De - us, a - g-nus De - i. Do - mine De - us, agnus De
Do mine De-us,a-g^us De.- i. Do - mi-ne De
U8,agiius De i,
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gTius De i, R -li-us Pa tris,
Domine De-us.ag-nus De-i. ag-iius Dei, Domine
•>ff f "CFtl+gLfffirr/i^'gVpgrrPf i ^ ^prfte
gnus De - i, Fi- li-us Pa tris,
Domine De-us,agTius De-i, agnusDei, Domine
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m
^m
^^^
De-US, a ^us De -
- i, Fi li us Pa
tris.
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t
De-US,
18 Bh
^us De-i, Fi - li-us Pa
tris.
^^
)| ^ f0f
i
^
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?
^
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Et exl^tre ex Patre na
tum, et ex Patre, ex Patre na tum ante
^
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^^^^^^
^
Et ex Patre, ex Patre, na
tum et ex Patre, ex Patre, na
^j^ J, ,iXi ^ipr 'P ^ - J flJ.i'JU' P [ t i ^ rF r'l^'r ^"
mnia Sae
-cula, an-te omnia saecula.
•^'F^i; FF6r^r"~icfl'^ppgr i r-^p»
s
^
- turn, ante o
19
- minia sae
cu la.
^^
)'! ^pFF i r F^pii^'p I f P r rT^
w
msiil
To battle haste, to battle haste,0 baste! The foe
lurkethnig-
f.f i rV. f
m
g
^
To battle. to battle, O haste!
The foe lurk etknigh.
earth! To battle haste, to battle haste,
haste!
The
5-57-6764B-1J00
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s
5
lurlt - eth nigh!
M
20 Fr
\^'»Vi}.
*
^
Now.ais of yore, now.as of yore,
Thy people
r i-^'h\i -
W
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^
^
&
^
fo e lurkeih , lurketh nig-hl
Now as of yore, now as of yore.
i^
r ^iT'^rh
^1
trembling- and a - dor ing,
^\\J- p I f EEfe^
Bow down once more
^
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y-g i rn^F/
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^
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r
Thypeople,tremblingand a - doring, Bow down once more
21Fr*
n^\- ^r i rm^
m. m m:
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^
Our sacrifices spurn ing, Silent to our cry. Our sac-ri - fi -ces
T"T . _* « 0—0-
^
m
^
iS—^
-K^
Our sacri-fi-ces spurn ing. Silent to our cry, Our sac-ri -fi-ces spurn
uig.
f I »r^r r**r' r ^^^ ' r r'^r r»^ nV ^g
^r^
p^
spurn ing, Silent to our cry, Ye gods, to us in darkness lying, ye
0—, , irj • ^. . "f"' 0im- ..- . ..-#» \r0, \rri •
^
^
rtr I r P<^
«* I K*ft
^
^
^
Silent to our cry, ye gods, to us in darkness lying, ye gods, to
^
:k
— 0-
^
• •
^m
£
gods, to us in darkness lying,
^\>m ■ m , »^0 0,^0'
m
send the lightjthe bless
ed truth.
f , fy-.ifff I fe ^ ^
m
E
^
H
^
us in darkness lying, O send the light, send the light,+he bless - ed truth.
22 Cb . _
'f Fp l TfF
t
m^
^EE
Dream of de - light, _ en- kind ling the soul, O why canst thou
^ 0—0-
?2=
\/rj
I
^
M 0.
^^
^
Dream of de -light, en kindling the soul,
O why canst
thou not
c 7^uJ J Ji ^Jj_j'-/u^j'j i iJ j ^
^
fe^
not ling- er? Thouhov'rest a-bove Likea flut-ter-ing dove!
Thouhovrest a-bove
Likea flut -ter-in$rdove!
5-B7-67645-300
187
i h^.^'hi Jiv-';iqiY"^»rii^iij i' j' J' J'
Vision of heaVn, O stay!
Shed en tranc
ing' radiance
,, j,i, ■ Mr\rK i V' f i f~T f 7 r
sp
Vision of heav'n,0 stay! Shed en tranc
ing' radiance
as of end -less day! Like a dove
^^ f tfl t l ^ j^^ l
s
as of end -less day!
Like a dove
T^^^
^
s
^
as of endless day!
hov'restthou.
M
i\i-\ ^i.J J^ ^
h I I n;.
^
*
:fe
» •
Ah! Dream of de light, en kindling- the soul,
a
FF i ^ff i f y-f
^^
s
hov'rest thou,
Dream of de lig'ht, en - kind - ling- the
te
^J^ J'l iJ ^J J
s
^
^^
0,-wiiy canst thounot ling-
Thou hov rest
P (• 0-
■0 ^
^
S
S
soul, 0,-why canst thou
not Ung- er?
23 Cn
Thou hov'rest a - bove
^^
^k M ^
^
like a dove!
Ac-cur-sed Ca-di,
g /J
" rnvopi f M rn^- pir ^
^
like a dove!
Ac cur - sed Ca-di, who, cold -hearted, A
EE2
m
h J> iir I li
i
^^
ac-cur-sed Ca di,
A guest -with
"vn I V
^ I f v ' r ^
in thy house didst
:e
gTiest with in thy house didst slay, 'Tis time
kU .- — ^.- .. \ .. i \ m ^ ^ I i ; = — \V ^ ^
that
slay.
f
^ff ff ff
^ Ml r r'^ ^
£
m
^
at'-iH ^r • t"
Ac-cur-sed Ca - di, thou di-est to <lay!
E
m:
# *■
^
thou and lif« 'w^^^e part-ed; Ihou di est to day!
5-57-67645-200
188
24
^m
^r'Fiyy^ i^jj^ii^;fi^j^j ^
Hear thy children,
Lord,heartheirpe ti tion!
H\yi;\Y^thT'^tr \ f w l r-ff^
^^
We hope, OLord,m thee, we hope, we hope, Lord
we hope, O
^
a
J»J-jJ'ii^'*crj^-i V -^j i j^J'^ ^
With richest boun ty hast thou blessed thy faith ful people!
H,^ criirrJ \ ii 7^ 1 ^^F p f) 5
( ■ ! ■
^
Lord in thee.
*
With bounty hast thou blessed thy faith - ful people! We
3 . 3 ^__
£
J 9m-
VY"P^r-- - ^
^^
V-Trf i ryrr i f
Hear thy children,
^^
heed their pe-ti
tion! We hope,
i
» f»
^
^
^
hope. O Lord in thee, we hope, we
S
^
u
FM^j^ i j j^pinfm
hope, O Lord.
25
in thee.
w^e
zz
^
we hope.O Lord, in thee!
Sail a - way.
sail a - w-ay.
^
r>vi.(i^ ...fr'gi r .ff
hope-
thee'.
Now^to the east, now to the
m
M
'rr^'j'iF
D •? X 7 = ; •/ ^
^
g
■^ %*
have no care of the morrow.
O wind.
blow
ivj.rvrj. i .pc ri-rirf i , , [ff
^
P
west. AH is one to the men of the sea. Storm.beat, and wind, blow!
4&- .... A 26
ban-ners streaming', sa - bresgleaming-. coursers prancing-, comes the foe!
'> ii^pif r^'fr i frr^ "c^^'i'trr' i Fip ii rrr i 'ftt'rrj-^i
ban 7 ners streaming-, sa bresgleaming-, coursers prancing-, comes the foe!
5-57-6-7645-200
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189
m
Ho! ye chieftains, ye
d5
^
, »rr -^ Ji
m
^
I scorn! Ho! ye chieftains, ye I scorn!
hey dare notheed the caU!Nav,nav.thevdare not heedth<
■?• P '
Nay, nay.th ey d are not ,nay,they dare notheed the caU!Nay,nay,they dare not heed the
': '^ r n I ,J iM n 1 J'
te
w
IS
idenotin dread, cowards all\ Here be hold me ready! Hide not,.
^
^t^TiV V-f | ^-ff s
^
F'r' g i TP
call!
Hide not in dread. Our charapionwaits!Hidenot in dread,our champion waits!
28
W
^
*
P
S
^
strength to
cow - ards eill!
Who
hath
the
■> r/hrn \ \' i '"!\J ^ i'l •> ^^ M^'p i^^. ^^
Come J ye cowards all!
Who hath streng-th to win
the
[jj- I'f -I ' r l y '■fI f^ ^i^^ ^
bat tie? Who ah! who can quell, quell the str
^ r 't r I "r'-^ i J v j n ^J' -^h i i-e_i ■< i' -> i J ^ j
^
P
bat
tie? Who. ah!
who
can
29
quell
the
strife? Who
|.^:jr i r ^'^'r'^t ^ifiWMP'F i ^pfJ^.
Who can quell the strife?
What ho! what ho! Let the port-cul - lis
ran aiipll can Quell the strife? Let the port cul lis
can quell, can quell the strife?
Let the port cul
30
fain Ho shall nnt.he shall not es-caoeus now! Far from the
P
^
fall! He
shall
}hA il l U l -r-yji I i f^
\ni es-caoe us now! Far
1^
not es-cape us now!
*
s
^
i
mad ding- crowds ig- no
^
^
S
3E
*
Me strife,
Their so ber
far.
far
f
P
from tlie madding- crowd
190
m
wish - es
ne - ver learn'd to stray, to
stray
^
Fax
■>■[ ■'"c.r ^'T r N r ^ i-'«r/p ^ v 1 1 ^^
Their so her wish es
ne ver learn'd to stray
'''f^'^^ i '^ ^'^i'UJjUJ ' I '"U
^
i^
from the madding- crowds ig - no ^ble strife
Their so - ber
JJrr^t I f
'> I. / r ^r ' ^ ^ ^ I ^ r f
Far, far,
far from the madding crowd
■IF
„J;i:]^l l lCf^^JJJ^pF^,^ l ''l,^ ^
^
^3
wish es.
Theirso-ber wishes ne - verleamdto stray,
,^niVr i nr*r ^^
^
Their so ber wish es ne-ver learn'd to stray,
31
r i i'J'iJ i |''tj i JA i JJ^^
^
never learn'd to stray.
Press on, press on, ye
iif>p g ff I r^|. < I J,, ."^f i p I 'X'i^ i fr ^^^
never learn'd to stray, learn'd to stray. Press on, press on, ye
*:,]^^ \ \} pOt fj I 'M^cT l iiJi ^ ^
-9 "^ *"
sons of light,press on, presson.Un tir ing in
your no ble
i ifTr ci r i 'irl r \ lij-^^ ^
s
sons of li&ht,
Un tir ing in your no ble
|'j^'Mrjy.r>iiirr '> i ri|j.J:;irj >
fieht- Still treaS iner each new foeman down, each foe - man down,
fight, Still tread - ing each new foe man, each foe -man down, And
^
i
^
^
*
*
a brig-ht - er crown!
And battling for a bright
i.f-rr i n , i |iTrr i *rl^ r i r^^^
batt ling for a bright- er crown, a bright
er crown!
5-67-67645-200
tdl
ELEVENTH SERIES
Two-part exercises, partly without and partly with text, in the following Church Modes: Aeolian,
Dorian, Ionian, l^ixolydian, Phrygian — Canonic imitation, strict and free, in other intervals than
that of the octave
1 Mixolydian — Bt
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5-B7-67645-200
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5-57-67645-200
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351
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5-57-67645-200
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pffr fr
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5-57-67645-200
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10 Mixolyddim Ls
'dan L
197
^
^^
2==n:
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:n=
^
Be
ne-di ctus.
qui ve
^B
J l Jf" J
?
Be
ne di ctus,
qui
^
JJJJJ IJJJJJJJJ
S
p o h'M 3B
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nit
m no - mi ne
Do
1 J r JJ I JJJ JjJ i Jrr JJ
^
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p^n." f ^
301
nit in no - mi - ne Do
J J J I J J J
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mi ni, in no -mi ne, ,
in no-nu ne.
i
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in no - mi ne
m no -mi ne
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m no - mi ne
;2 . T r T P
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ff r |f ffrf i Trrf
Do
o
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in no - mi ne Do
11 Mixolydian Ls Wll
?
19 1^
+#:
mi JUL
Ex pan
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